Why First-Year Comp Classes Give Me Hope

First-year composition courses, which are required of incoming students at many colleges and universities, lack cachet. No student gets excited about a comp class, and the faculty who teach these classes usually occupy the low rungs on the academic ladder. And right now, as crisis after crisis batters the country, and the world, first-year composition may seem even less important than usual. But in my 30 years of college teaching, it’s first-year comp classes that give me hope, because they offer the possibility of change.

These small, discussion-based classes give students much-needed practice in how to disagree without disrespect, and—if these classes were embedded more firmly into university curricula—they could radically reshape not only how students learn but how they participate in public life.

My students often come into their comp class with a chip on their shoulder: Why should they have to “learn to write”? They got themselves into college, after all, and if they get stuck on a writing assignment, there’s always ChatGPT. First-year writing is a waste of time, they think; they’re in college to take “real” classes, courses that matter.

I harbor a secret affection for these reluctant students, because I know that their resistance will melt when they discover the immensely practical importance of finding the right words for their ideas—and the accompanying sense of power that comes with being able to express themselves so that others understand them. Universities tell students that comp classes aren’t “content courses,” because writing courses aren’t discipline-specific. But then again, neither is the world we live in: Most of us live, work and think in multiple, overlapping contexts.

For many students, the composition class is the first (and for some, the only) place in college where they experience a seminar-style class that emphasizes process as much as (or more than) product. The paradigm of a composition course involves a reset: It’s not about “the right answer”; it’s about prioritizing curiosity over certainty and about students discovering not only that they have a voice, but that they can use this voice to explore their world. In the 21st-century university, in which faculty are asked for their “course deliverables,” as if learning were an assembly-line widget, comp classes exemplify an alternative to the sludgy tide of university corporatization.

Composition classes encourage questions, welcome mistakes and revisions, and value messiness and curiosity. During peer workshops, which are an integral part of these courses, I remind students that grades aren’t pie: Everyone can, conceivably, get an A in the course, so their workshop task is helping one another create more effective writing, not to tear each other’s drafts to shreds. Their success, in other words, does not depend on someone else’s failure.

There are other disciplines where students work iteratively and collaboratively—computer science, for example. But in composition workshops, students learn to ask the kinds of questions that promote reflection and refinement. They’re quick to pick up on one another’s sweeping generalizations—“throughout history, men and women have always disagreed”—and explain why those sorts of generalizations aren’t effective.

As they talk, they see how their own experiences might be radically different from those of the people reading their work, and they begin to understand how their experiences, consciously or not, have shaped how they see the world. In classroom conversations and workshops, they learn to disagree without rancor and to understand that how they chose to explain (or not explain) an idea has consequences for how they are understood. In a recent essay in The New York Times, Greg Weiner, president of Assumption University, writes that college campuses “are places where dissenting views deserve an elevated degree of respectful and scholarly engagement.” That’s a tall order for U.S. colleges these days, it seems, but it’s one of the underlying principles of composition classrooms.

“How could I say this better?” is a question I hear writers ask, to which their readers reply, “What do you really want to say, and why?” Students ask one another to explain the evidence for their claims, to examine their assumptions and to think about alternative ways of presenting their ideas. Composition courses help people become more effective writers because they help people become better listeners: Students learn to disagree without dismissiveness or disrespect. And as they help one another, they see ways to improve their own work; it’s a feedback loop that helps them find critical distance, which is essential for revision. Quite literally, students have to re-see their ideas and consider the impact of those ideas on their audience.

I remember when a male student from Shanghai read an essay written by a female student from the Persian Gulf about her struggles to be a dutiful daughter. “She totally read my mind,” the Shanghai student proclaimed. “Being a good son, trying to keep my parents happy—it’s exhausting!” His comment prompted a class discussion about the generational struggles they all shared, albeit across wildly divergent cultural experiences. Their differences prompted questions that led to connections; difference became an opportunity for exploration rather than a threat. Students were excited to write the essays that emerged from this conversation; they were invested in examining their own experiences in order to open those experiences to others.

That’s what reading and writing can give us: moments of connection with other people’s lives, which then help us see ourselves in a new light. Connection and distance, empathy and self-reflection: These are the qualitative moves that students practice in composition class. These are the deliverables.

These deliverables, however, don’t translate into status for composition teachers, who are typically not tenure-track or tenured; they are often called lecturers rather than professors, despite having a Ph.D. Most of us are what’s known as contingent faculty because we work on renewable contracts (sometimes semester to semester, sometimes in longer increments).

To be a composition teacher, then, means working in the trenches of the university rather than its ivory towers. I’ve been teaching some version of first-year writing for more than 30 years, and while I might hope otherwise, I know that only one or two semesters of writing instruction isn’t enough to create lasting change, even though the most resistant students admit to feeling like more confident and competent writers by the end of the course.

If universities had the courage to put composition at the center of their missions, however, they could create real change: What if students had expository writing classes every year for four years, regardless of their majors? Four years of slow, reflective, process-based writing about the world outside their specific subjects, with an emphasis on exploration and curiosity, rather than “the right answer”? What if the ability to reflect and reconsider, the twinned abilities at the heart of critical thinking, were the deliverables that mattered?

Imagine those students bringing that training into the public sphere. People who are eager to ask questions and interrogate assumptions (including their own), people who think in terms of process rather than product: These are the basic tenets of almost any composition class and yet, increasingly, these attitudes seem almost radical. People trained in this way could re-shape public discourse so that it becomes conversation rather than a series of point-scoring contests.

First-year comp is a content course. We just need to see that content as valuable.